f 


Digitized  by  the  Internet  Archive 
in  2016  with  funding  from 
Getty  Research  Institute 


https://archive.org/details/picturesquearchiOOIabe_O 


Holy  W e l l — G uadalupe 


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ouir  2 a cHeaunie 


INDEX 

FRONTISPIECE  Holy  Well — Guadalupe 


CUERNAVACA 


1 

Palace  of  Cortez 

8 

Cathedral  of  San  Francisco 

2 

Patio — Post  Office 

9 

Chapel  of  Tercer — 

3 

Patio— Post  Office 

Order  of  San  Francisco 

4 

Patio — Post  Office 

10 

Private  Courtyard 

5 

Street  Shrine 

1 1 

Private  Courtyard 

6 

Chapel  of  Tercer — 

12 

Street  Corner 

Order  of  San  Francisco 

13 

Church  of  Guadalupe 

7 

Chapel  of  Tercer — 

14 

Gallery  in  Patio 

Order  of  San  Francisco 

15 

Street  Scene 

CITY  OF 

MEXICO 

16 

Church  of  Vera  Cruz 

25 

Church  of  San  Fernando 

17 

Sagrario  Metropolitan  a 

26 

Baptistry 

18 

Dome 

27 

Side  Door  of  Sagrario 

19 

Church  of  Santisima  Trinidad 

28 

Church  of  la  Profesa 

20 

Church — 

29 

Campanile — Polychrome  Tiles 

Sta.  Teresa  la  Antigua 

30 

Portal 

21 

Church — 

31 

Doorway — Colegio  de  la  Paz 

Sta.  Teresa  la  Antigua 

32 

Tiled  House 

22 

Dome 

33 

Ancient  Church  in  Environs 

23 

Tower — 

34 

Holy  Well — Guadalupe 

Church  of  La  Concepcion 

35 

Main  Portal — Sagrario 

24 

Tower — La  Trinidad 

35A 

Convent  Chapel 

PUEBLA 

36 

Main  Portal — San  Francisco 

43 

Church  of  El  Carmen 

37 

Detail — San  Francisco 

44 

Public  Fountain 

38 

Detail — San  Francisco- 

45 

Stone  Bench — Old  Alameda 

Polychrome  Tiles 

46 

Chapel  of 

39 

Balcony — Private  House 

San  Sebastian  de  Aparicio 

40 

Balcony — Private  House 

47 

Main  Portal — La  Compania 

41 

Facade — Private  House 

48 

Chapel 

42 

Church  of  Loreto 

QUERETARO 

49 

Facade — San  Felipe  Neri 

56 

Private  Patio 

30 

Facade — Santo  Domingo 

57 

Grand  Court — 

51 

Tower — Santo  Domingo 

Federal  Palace 

32 

Tower — Santa  Rosa 

58 

Convent  of  Santa  Clara 

53 

Street  Scene — 

59 

Gallery — Private  House 

Dome  of  Cathedral 

60 

Church — Lateral  Facade 

54 

Palace  of  the  Marquis  Villa^ 

DEL  VlLLAR  DELLA  AGUILA 

61 

Convent  Entrance 

62 

Flying  Buttress — 

55 

Fountain — Federal  Palace 

Parish  Church 

ACAMBARO 


63 

Cathedral 

65 

Detail — Capilla  del  Hospital 

64 

Capilla  del  Hospital 

66 

Parish  Church 

GUANAJUATO 

67 

Main  Portal  of  La  Parrochia 

68 

Gateway  of  La  Parrochia 

69  Facade- 

-San 

Diego 

MORELIA 

70 

Towers  of  Cathedral 

86 

Lantern — Cathedral  Tower 

71 

Tower  of  Cathedral 

87 

Main  Portal — San  Pedro 

72 

Transept  of  Cathedral 

88 

Lambrequin  over  Door — - 

73 

Dome  of  Cathedral 

Barracks 

74 

Lateral  Court  and 

89 

Gateway  to  Parish  House 

Bishop’s  Palace 

90 

Facade — Private  House 

73 

Facade — Bishop’s  Palace 

91 

Corner  Fountain 

76 

Private  House 

92 

Convent  of  San  Diego 

77 

Municipal  Palace 

93 

Plazuela — 

78 

View  through  Portal- 

Convent  of  San  Diego 

Municipal  Palace 

94 

Private  House 

79 

Calle  Principal 

95 

Court — Private  House 

80 

Church  of  La  Compania 

96 

Side  Doorway — San  Jose 

81 

Gateway  to  Cathedral  Yard 

97 

Aqueduct — 

82 

“Portales” — Calle  Principal 

Alameda  de  San  Pedro 

83 

Street  Fountain 

98 

“Portales”— Calle  Principal 

84 

Church  of  El  Carmen 

99 

View  from  Roof — 

85 

Detail — Church  of  El  Carmen 

Hotel  Osseguera 

OAXACA 

100 

Balcony  and  Entrance — 

107 

Facade — Parish  Church 

Private  House 

108 

Gateway  to  Churchyard 

101 

Portales — 

110 

Fountain  and  Door  of 

Village  near  Oaxaca 

La  Dolores 

102 

Courtyard  (Church)  Entrance 

111 

Lateral  Buttresses — 

103 

Private  House 

Cathedral 

104 

Corner  Fountain 

1 12 

Facade — Parish  Church 

105 

Buttress — Bishop’s  Palace 

1 13 

Country  Church 

106 

Window  Grille — Residence 

near  Oaxaca 

CELAYA 

109 

Circular  Arcade— Market 

115 

Main  Portal — El  Carmen 

114 

Church  of  El  Carmen 

1 16 

Side  Portal — El  Carmen 

SAN  LUIS  POTOSI 

117 

Cathedral 

118 

Church  of  El  Carmen 

THE  PICTURESQUE  ARCHITECTURE 

OF 

MEXICO 


T is  strange  that  the  Architectural  treasures  of  Mexico,  a country  so  accessible  to 
the  American  tourist,  should  be  so  little  known.  Comforts  for  the  traveller  are 
not  yet  to  be  expected  in  the  same  degree  as  prevails  in  Europe;  yet  the  continual 
and  delightful  surprises  which  he  in  wait  for  the  observer  offer  him  a rich  reward 
for  such  sacrifices  of  his  personal  convenience  as  he  may  be  called  upon  to  make. 

Picturesqueness,  in  the  literal  meaning  of  the  term,  is  the  quality  which  impresses  one 
first,  last  and  always.  Mexico  is  essentially  a painter’s  country.  Under  its  vivid  sunlight 

landscape,  costumes  and  architecture  sparkle  with  a freshness  that  is  exhilarating.  It  is  a coun- 
try of  sharp  and  stimulating  contrasts.  Its  landscape  varies  from  the  densest  tangle  of  tropi- 
cal verdure  to  the  gray  sterility  of  the  sandy  desert  dotted  only  by  the  thorny  cactus  and 
reaching  to  a haze  of  snow  capped  mountains  in  the  distance.  Its  population  is  mixed,  em- 
bracing a wide  range  of  types  from  the  primitive,  half  naked  Indian,  the  descendant  of  the 
original  possessor  of  the  land,  to  the  polished  scion  of  the  conquering  race,  graceful  and  courte- 
ous, in  manner  and  aspect  redolent  of  the  Continental  capitals,  in  which  he  is  as  much  at 
home  as  in  his  own  Hacienda.  These  types  mingle  and  jostle  each  other  in  the  splendid  ave- 
nues of  the  Capital,  in  the  promenades  of  the  Alameda,  and  the  lovely  gardens  at  the  base  of 
Chapultepec.  Here  the  silk  hat  and  correctly  cut  black  coat  of  the  dandy  make  the  scarlet 
serape  and  wide-brimmed,  cone-crowned  sombrero  o f the  peon  all  the  more  startling.  To  the 
wondering  gaze  of  the  observer  from  the  North  it  is  like  nothing  so  much  as  a scene  from  some 
light,  very  light  opera;  the  movement,  color,  grace,  and  the  ever  present  music  making  for  an 
air  of  strange  but  delightful  unreality.  Round-eyed  little  soldiers  and  black-cloaked  priests 
pass  to  and  fro  interminably.  And  as  one  watches  the  moving  drama  the  conclusion  is  forced 
upon  one  that  these  latter,  seemingly  supernumeraries,  have  really  the  active  parts.  For  the 
Army  and  the  Church  stand,  and  have  stood  for  centuries,  between  the  improvident  peasantry, 
with  their  pathetic  superstitions,  and  their  lords  and  masters. 

The  gold-seeking  Cortes  appeared  upon  the  scene  at  the  head  of  a small  but  intrepid  band 
of  adventurers  in  November,  1518,  and  but  three  short  years  sufficed  for  the  complete  subjec- 
tion of  the  native  populace.  Under  his  forceful  sway  the  ancient  forms  and  customs  gave  way 
to  those  of  the  conquering  race.  In  less  than  four  years  after  the  destruction  of  the  Aztec  city 
of  Mexico,  a new  Spanish  city  arose  on  its  rums.  Splendid  buildings  were  erected,  roads, 
bridges,  viaducts  and  water  systems  were  planned  and  executed  on  a gigantic  scale.  Villages 
and  towns  came  into  being  from  one  end  of  the  land  to  the  other.  Spain,  glorious  in  arms  and 


in  the  Arts,  imposed  her  civilization  upon  this  ancient  people  and  all  vestige  of  the  civilization 
of  the  Montezumas  was  swept  away,  almost  as  if  it  had  never  been.  The  rapid  spread  of 
Spanish  Arts  and  Sciences  was  due  in  largest  measure  to  the  powerful  and  disciplined  activ- 
ity of  the  Church.  One  of  the  first  acts  of  the  ambitious  Cortes,  after  he  had  firmly  estab- 
lished himself  in  the  country,  was  to  send  forth  a call  for  missionaries  from  the  old  world  to 
plant  the  true  cross  on  this  newly-discovered  soil.  The  conversion  of  the  natives  was  easy  and 
rapid,  as  the  Aztec  forms  of  worship,  remarkable  for  their  ceremonial,  had  prepared  the  people 
for  the  pomps  and  splendors  of  the  Roman  ritual.  The  building  of  churches  progressed  with 
the  winning  of  converts  and  it  has  been  estimated  that  at  the  end  of  the  second  century  after 
the  conquest,  no  less  than  eight  thousand  separate  church  buildings  were  in  existence — sixty  of 
them  being  in  the  capital  alone. 

Naturally  the  architecture  of  these  churches  followed  closely  the  styles  prevailing  in  the 
mother  country.  That  is  to  say,  it  followed  them  as  closely  as  the  recollection  of  the  monastic 
builders  would  allow,  and  as  the  local  circumstances  and  materials  would  permit.  The  archi- 
tecture of  Mexico,  as  exemplified  in  the  buildings  of  the  sixteenth,  seventeenth  and  eighteenth 
centuries,  is  the  architecture  of  the  Spanish  Renaissance  repeated  in  a cruder  form.  In  spite  of 
the  fact  that  it  has  been  the  fashion  to  deprecate  the  work  of  the  Spanish  architects  during 
this  period  and  to  compare  it  unfavorably  in  the  elements  of  restraint  and  refinement  with 
Italian  art  of  the  same  time — it  yet  must  be  admitted  that  notwithstanding  its  great  crudity  of 
detail  and  its  often  haphazard  and  seemingly  accidental  composition,  much  of  this  Mexican 
work  is  amazingly  beautiful.  The  examples  which  are  known  to  us,  possess  the  same  merit  of 
their  defects  to  be  found  in  the  Spanish  examples.  The  same  free  use,  or  misuse,  of  the  Orders 
and  the  same  almost  Oriental  over-decoration  are  evident.  The  same  excellences  of  mass  and 
scale  and  the  same  contrast  of  enriched  surfaces  with  plain,  unbroken  walls,  please  the  eye  and 
disarm  the  critical  sense.  But  above  all,  the  silhouettes  of  the  lovely  towers  and  the  graceful 
domes  give  a charm  to  these  churches  scarcely  to  be  discovered  elsewhere. 

c 

After  paying  full  tribute  to  the  original  sources  of  inspiration,  the  feeling  remains  that  the 
Spanish  Renaissance  gained  something  by  its  transplantation  to  Mexican  soil.  That  it  should 
have  lost  something  too  in  precision  and  finesse  is  but  natural.  But,  the  qualities  of  sponta- 
neity, freshness  and  naivete  which  characterize  all  of  the  Mexican  work,  give  to  it  an  individu- 
ality and  make  an  appeal  which  cannot  be  resisted.  Moreover,  the  differences  in  material — 
the  more  sparing  use  of  stone  and  the  greater  evidence  of  stucco,  together  with  the  skilful  em- 
ployment of  polychrome  tiling — contribute  toward  the  impression  of  greater  informality. 

The  gain  in  color  under  the  brilliant  sunlight  is  notable.  Pigment  and  nature  have  com- 
bined to  wash  and  stain  every  surface  with  the  most  ravishing  hues.  Pale  pinks,  and  mauves, 
and  umbers  streak  the  warm  stucco,  and  crisp,  translucent  shadows  fall  easily  and  smoothly  from 
cornice  and  balcony,  or  he  cool  and  inviting  in  the  deep  recesses  of  portal  and  arcade.  One 
is  continually  turning  the  angle  of  a shaded,  narrow  street  only  to  come  face  to  face  with  the 
most  exquisite  of  water  colors  left  wet  and  sparkling  by  some  Titanic  brush.  The  pure  green, 
blue  and  orange  tiles  which  cover  the  swelling  domes  in  patterns  are  picked  out  unerringly  and 


the  huddled  form  of  an  Indian  makes  with  his  serape,  just  the  right  splash  of  vermilion  in  the 
sunlit  foreground.  Here  one  catches  a glimpse  of  the  rich  rose-purple  of  the  Bougainvillea 
vine  against  a white  or  lemon-tinted  wall  and  there,  the  glowing  globes  of  ripe  orange  fruit  in 
the  thick,  glossy  foliage  of  some  enticing  garden.  Through  the  curve  of  a low  archway,  from  a 
sunny  arcaded  patio,  comes  the  cool  sound  of  trickling  water  and  behind  the  grating  of  a 
window  the  soft  eyes  of  some  dusky  senorita  sparkle.  At  a wayside  well,  laughing  boys  fill 
their  jars,  or  droves  of  patient  donkeys  crowd  to  slake  their  thirst.  In  most  of  these  allur- 
ing pictures  some  note  of  architecture,  however  slight,  is  present  and  becomes  a factor  in  the 
composition. 

Of  the  earlier  buildings,  perhaps  the  most  widely  known  is  the  palace  of  Cortes  at  Cuer- 
navaca, completed  in  1531.  Its  low  arches  sprung  from  rather  stocky  columns,  are  possibly 
more  Romanesque  than  Spanish  in  feeling,  but  later  buildings  more  closely  follow  the  Re- 
naissance tradition  in  an  increase  of  grace  and  lightness.  There  are  other  examples  of  arcaded 
courtyards  of  this  period,  but  they  are  not  numerous,  and  most  of  the  surviving  work,  both 
ecclesiastical  and  secular,  dates  from  the  seventeenth  and  eighteenth  centuries.  Although  the 
cornerstone  of  the  Cathedral  of  the  City  of  Mexico,  which  stands  upon  the  site  of  a former 
Aztec  temple,  was  laid  in  1573,  the  Church  was  not  finally  dedicated  until  1677,  and  the 
towers  were  not  completed  until  1791.  This  Cathedral  though  imposing  and  dignified  in 
design  is  not  characteristic  in  the  same  degree  as  many  of  the  minor  Cathedrals  and  churches 
scattered  throughout  the  country.  In  comparison  with  them,  it  is  formal  and  cold  in  its  pseudo 
classicism.  The  Sagrario-Metripolitana  (on  the  other  hand)  which  adjoins  it  is  a magnificent 
example  of  the  highly  ornate  Churrigueresque.  Traces  of  this  latter  style  are  evident  in  many 
of  the  Churches  in  the  city,  as  well  as  elsewhere,  notably  at  Zacatecas,  Valenciana,  Quere- 
taro,  San  Luis  Potosi,  Orizaba  and  Puebla.  Some  altar  pieces  in  this  manner  remain  and 
doubtless  others  existed  in  interiors  now  bare  and  denuded. 

Of  the  purer  and  more  refined  Plateresque  there  are  fewer  examples  and  it  is  easy  to 
understand  how  the  coarse  and  florid  style  of  Churriguera  might  have  been  chosen  almost  with 
deliberation  to  impress  and  awe  the  unsophisticated  natives.  Nor  is  this  altogether  a matter  of 
regret,  for  his  writhing  and  wriggling  ornament,  his  broken  and  curved  entablatures  glitter  and 
scintillate  with  wonderful  effect.  One  has  much  the  same  feeling  with  regard  to  the  glazed  tiles 
of  many  colors  which  cover  the  usually  low  but  finely  curved  domes.  I heir  use  is  general,  but 
they  are  seen  in  their  greatest  variety  and  richness  at  Puebla.  The  domes  themselves,  of 
which  there  must  be  hundreds,  are  almost  without  exception  graceful  in  contour,  and  support 
exquisite  lanterns.  In  fact  it  is  by  their  charming  silhouettes  and  the  countless  number  of 
beautiful  campaniles  and  towers,  that  the  Architecture  of  Mexico  is  best  remembered.  Every- 
where these  towers  rise  above  the  surrounding  landscape  and  everywhere  they  are  lovely  in 
outline. 

The  twin  towers  of  the  Cathedral  at  Morelia  ( formerly  Valladolid ) are  particularly  im- 
pressive. I hey  are  finely  designed  in  the  more  dignified  and  restrained  Plateresque,  rising  to 
a greater  height  than  is  common  and  dominating  the  valley  in  which  this  most  interesting  little 


city  lies.  Its  quaint  air  of  decorum,  its  well  ordered  streets — many  of  which  are  arcaded  al- 
most in  the  Italian  manner,  its  quiet  little  squares,  and  the  restraint  and  refinement  shown  in  the 
simple  facades  of  its  principal  buildings,  recall  some  small  Continental  capital  or  seat  of  learn- 
ing. The  Cathedral  was  begun  in  1640,  and  dedicated  in  1706,  although  the  towers  were 
not  finally  completed  until  1 744.  The  fine  iron  work  of  its  enclosure  is  of  a later  date. 

There  is  no  such  profusion  of  beautiful  metal  work  in  Mexico  as  in  the  mother  country, 
but  many  simple  grilles  and  balconies,  excellent  in  design  and  craftsmanship,  are  to  be  found 
in  all  of  the  principal  towns  and  cities. 

The  domestic  architecture  of  the  cities  varies  in  elaboration  with  the  wealth  and  import- 
ance of  the  individual.  Many  of  the  houses  present  plain  facades  pierced  by  few  small 
and  heavily  barred  windows  to  the  street,  but  enclose  patios  or  courtyards  of  considerable 
interest.  Some  of  the  tiniest  of  these  have  much  charm  and  the  larger  often  attain  a real 
measure  of  dignity.  Courtyards  like  those  of  the  Iturbide  Palace  in  the  City  of  Mexico  and 
the  Federal  Palace  at  Queretaro  are  even  grandiose  owing  to  the  ornamentation  of  their  span- 
drels, archivolts  and  piers.  Some  private  palaces  also  possess  highly  ornate  street  facades  and 
the  comparative  rarity  of  these  adds  to  the  richness  of  their  effect. 

With  the  general  development  of  the  country  which  is  sure  to  follow  the  establishment 
of  peace  and  order,  much  of  the  charm  and  quaintness  of  the  Old  Mexico  must  pass.  To- 
day, however,  it  is  a land  full  of  interest  for  the  architect,  the  painter  and  the  sympathetic 
traveller  ready  to  respond  to  the  appeal  of  the  strange,  the  quaint,  the  beautiful  or  the  pic- 
turesque. 


Louis  La  Beaume. 


CUERNAVACA 


I Palace  of  Cortez 


CUERNAVACA 


2 P a t i o — P ost  Office 


CUERNAVACA 


3 P a t i o — P ost  Office 


4 P a t i o — P ost  Office 


CUERNAVACA 


5 Street  Shrine 


CUERNAVACA 


6 Chapel  of  Terce  r — O rder  of  San  Francisco 


CUERNAVACA 


7 Chapel  of  Terce  r — O rder  of  San  Francisco 


CUERNAVACA 


8 Cathedral  of  San  Francisco 


CUERNAVACA 


9 Chapel  of  Terce  r — O rder  of  San  Francisco 


CUERNAVACA  CUERNAVACA 


— 


CUER N AVAC A 


'■£ 


12  Street  Corner 


CUERNAVACA 


13  Church  of  Guadalupe 


CUERNAVACA 


14  Gallery  in  Patio 


CUERNAVACA 


16  Church  of  Vera  Cruz  — City  of  Mexico 


CITY  OF  MEXICO 


I 7 Sagrario  Metropolitana 


CITY  OF  MEXICO  C I T Y O F M E X I C O 


CITY  OF  MEXICO 


20  Church  of  St  a.  Teresa  la  Antigua 


CITY  OF  MEXICO 


21  Church  of  St  a.  Teresa  la  Antigua 


CITY  OF  MEXICO  CITY  OF  MEXICO 


CITY  OF  MEXICO 


24  Tower,  La  Trinidad 


CITY  OF  MEXICO 


25  Church  of  San  Fernando 


CITY 


MEXICO 


' O F 


26  Baptistry 


CITY  OF  MEXICO 


< * ■ 


2 1 Side  Door  of  Sagrario 


CITY  OF  MEXICO 


28  Church  of  la  Profesa 


CITY  OF  MEXICO  CITY  OF  MEXICO 


CITY  OF  MEXICO 


3 1 


Main  Doorway — (Colegio  de  la  Paz) 


*»* 


CITY  OF  MEXICO 


32  Tiled  House 


CITY  OF 


MEXICO 


33  Ancient  Church  in  Environs 


CITY  OF  MEXICO 


34  Holy  Well  — Guadalupe 


CITY  OF 


MEXICO 


35  Main  Portal  — Sagrario 


CITY  OF  MEXICO 


3 5 A Convent  Chapel 


PUEBLA 


36  Main  Portal  — San  Franci  sco 


PUEBLA 


37  Detail  — San  Francisco 


PUEBLA 


3 8 D E T A I L S AN  FRANCISC  O P OLYCHROME  TlLES 


PUEBLA 


40  Balcony  — Private 


House 


PUEBLA 


41  Facade  — Private  House 


PUEBLA 


42  Church  of  Loreto 


PUEBLA 


43  Church  of  El  Carmen 


>K 


PUEBLA 


PUEBLA 


47  Main  Portal  — La  Compania 


PUEBLA 


48  Chapel 


QUERETARO 


49  Facade  — San  Felipe  Neri 


QUERETARO 


50  Facade  — Santo  Domingo 


QUERETARO 


5 1 Tower  — Santo  Domingo 


QUERETARO 


i 


52  Tower  — Santa  Rosa 


QUERETARO 


53  Street  Scene  — Dome  of  Cathedral 


QUERETARO 


QUERETARO 


56  Private  Patio 


QUERETARO 


QUERETARO 


QUERETARO 


59  Gallery,  Private  House 


QUERETARO 


60  Church — -Lateral  Facade 


QU  ER  ETARO 


61  Convent  Entrance 


QUERETARO 


62  Flying  Buttress  — Parish  Church 


AC AM  B ARO 


63  Cathedral 


ACAM  B ARO 


64  Capilla  del  Hospital 


ACAMBARO 


6 5 Detail  — Capilla  del  Hospital 


ACAMBARO  GUANAJUAiO 


Portal 


AC AM  B ARO 


• . *■ 


GUANAJUATO 


69  Facade  — San  Diego 


MORELIA 


70  Towers  of  Cathedral 


I 


MORELIA 


71  Tower  of  Cathedral 


MORELIA 


72  Transept  of  Cathedral 


MORELIA 


73  Dome  of  Cathedral 


MORELIA 


74  Lateral  Court  and  Bishop’s  Palace 


s 


MORELIA 


$ mm 


m. 


75  Fa  cade  — Bishop’s  Palace 


MORELIA  MORELIA 


MORELIA 


78  View  through  Porta  l — M unicipal  Palace 


MORELIA 


W 3LL  / ■ 4'\ 


A 


79  Calle  Principal 


. 


MORELIA  MORELIA 


MORELIA 


82  “PORTALES"  CALLE  PRINCIPAL 


. 


MORELIA 


83  Street  Fountain 


MORELIA 


84  Church  of  El  Carmen 


MORELIA 


MORELIA 


86  Lantern  — Cathedral  Tower 


MORELIA 


87  Main  Portal  — San  Pedro 


V. 


MORELIA 


MORELIA 


89  Gateway  to  Parish  Church 


MORELIA 


90  Facade  — Private  House 


MORELIA 


91  Corner  Fountain 


I 


MORELIA 


92  Convent  of  San  Diego 


\ 


MORELIA 


93  Plazuela  — Convent  of  San  Diego 


s> 


\ 


MORELIA  MORELIA 


MORELIA 


96  Side  Doorway  — San  Jose 


MORELIA 


97  A Q U E D U C T — A L A M E D A DE  SAN  PEDRO 


I 


MORELIA 


98  “PoRTALES”  CALLE  PRINCIPAL 


OAXACA 


101  P O R T A L E S — V I L L A G E NEAR  OAXACA 


OAXACA 


102  Courtyard  (Church)  Entrance 


103  Private  House 


■ 


OAXACA  OAXACA 


OAXACA 


106  Window  Grille,  Residence 


OAXACA 


107  Facade 


Parish  Church 


' 


> 


OAXACA 


108  Gateway  to  Churchyard 
C E L A Y A 


109  Circular  Arcade  — Market 


OAXACA 


OAXACA 


I 1 I Lateral  Buttresses  — Cathedral 


OAXACA 


1 I 2 


Facade  — Parish  Church 


OAXACA 


113  Country  Church  near  Oaxaca 


CEL AY A 


114  Church  of  El  Carmen 


111111 


CEL AY A 


115  Main  Portal  — El  Carmen 


0 


CEL AY A 


116  Side  Portal  — El  Carmen 


1 


SAN  LUIS  POTOSI 


I 1 7 


Cathedral 


1 


* 


SAN 


LUIS  POTOSI 


118  Church  of  El  Carmen 


0 


GETTY  CENTER  LIBRARY 


3 3125  00037  4096 


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